Vlatka Horvat
By the Means at Hand


Curated by Antonia Majača
On until 24 November 2024

The elegant simplicity of Horvat’s project should have been a breath of fresh air in the ideologically fecund edition of the Biennale. Responding to Adriano Pedrosa’s facile call to foreignness, the London-based Croatian artist solicited reflections on non-belonging from her international crowd of art world friends, thus starting a letter chain. 

The pavilion is filled with cutesy poems and doodles. “Young man (35) from Sarajevo seeks a person to discuss art with” jests one, “return to Serbian poets all their books” urges another. Hundreds of these pieces and printouts of the emails which gave rise to them are on show in a sleek purpose-made archive management system which accounts for one of this review’s stars.

Art history books claim that mail art was something once. Horvat’s presentation today, however, is so banal that it puts this legacy to a test. It turns art into a record that might come in handy to an NGO worker reporting on art world networking. Entirely by design, then, this closed circulation speaks to and agrees with only itself. 

notes and notices are short and curt exhibition reviews. Read more:

Co Westerik, Centenary at Sadie Coles HQ ★★★☆☆

Co Westerik



Westerik catches his figures in deep contemplation in front of the mirror, in the gynaecologist’s chair, or even mid-orgy.

Șerban Savu, The Romanian Pavilion in Venice ★★★★☆

Șerban Savu

What Work Is


This Elysium is part panel house block, half Roman ruin

A Comparative Dialogue Act, Luxemburg pavilion in Venice ★★☆☆☆

Andrea Mancini, Every Island

A Comparative Dialogue Act


Stage fright is real. Cowardice is another thing altogether.

Atiéna R Kilfa, Primitive Tales, at Cabinet ★☆☆☆☆

Atiéna R. Kilfa

Primitive Tales


An uninspired re-staging of the artist’s Camden Arts Centre show.

Yoko Ono at Tate ★★★☆☆

Yoko Ono

Music of the Mind


This show will sell tickets. But it won’t change the weather.

Erick Meyenberg, Nos marchábamos, regresábamos siempre, the Mexican pavilion in Venice ★☆☆☆☆

Erick Meyenberg

Nos marchábamos, regresábamos siempre


Whatever the purpose of this confusion, it’s not to be found in the gallery.